Analiza ciklusa 24 preludija i fuga op. 87 Dmitrija Šostakoviča

master's thesis

• Author: Valerija Vranješ
• Mentor: Ante Knešaurek (mentor)
• Granter: University of Zagreb; Academy of Music; (Composition and Music Theory Department); Zagreb
• Defense date and country: 2015-09-19, Croatia
• Scientific / art field, discipline and subdiscipline: FIELD OF ART; Art of Music; Composition

Abstract

Ciklus 24 Preludija i fuge op. 87 Dmitrija Šostakoviča predstavlja vrhunsko izdanje polifone glazbe 20. stoljeća s osloncem na glazbu Johanna Sebastina Bacha. Djelo je nastalo u tajnosti, 50 – ih godina prošlog stoljeća, u vremenu izrazite umjetničke blokade koja je vladala unutar Sovjetskog Saveza.
Tonaliteti su u ciklusu raspoređeni po kvintnom krugu uzlazno pri čemu za svakim durskim tonalitetom slijedi njegov paralelni mol. Na tonalitetnom planu Šostakovič ne napušta tradiciju dura i mola, ali se uz njih služi i suvremenim (slobodnijim) harmonijskim sredstvima. Građa preludija varira između onih homofonog i plesnog karaktera te uvertire ili klavirske etide. Formalni plan fuge blizak je tradicionalnim uzorima gdje se jasno mogu raspoznati prva, druga i treća provedba, a koriste se i razne tehnike razvoja tematskog materijala kao što su inverzija, kanonske imitacije, augmentacija, diminucija i sl. Također, između preludija i fuga često je prisutna međusobna povezanost koja se najviše očituje u motivskoj i harmonijskoj sličnosti.

Abstract (bulgarian)

Cycle of 24 Preludes and Fugues op. 87 by Dmitri Shostakovich represents a special edition of polyphonic music of the 20th century with a base in Johann Sebastian Bachs music. The piece was written in secret, during the middle of the last century, in a time of an intense artistic blocade which was taking its place in a Soviet Union.
Tonalities are arranged by upper fifth circle where every major tonality is followed by his minor pair. Shostakovichs musical language is still based in tradition of major and minor tonalities, but he is also using newer, more modern harmonic resources. The construction of Preludes varies between a homophonic and dance charachter, overture or piano etude. The formal plan of the Fugue is closer to the tradition because parts can be easily recognized (first, second and third part). There is also a use of different development polyphonic tehniques such as inversion, canonic imitation, augmentation, diminution etc. Preludes and Fugues are connected by similar motives and harmony.

• Keywords: analize; Šostakovič; preludiji; klavirska glazba
• Keywords (english): analysis; Preludes; piano music
• Language: croatian
• URN:NBN: urn:nbn:hr:116:885047
• Study programme: Title: Graduate University Study Programme in Music Theory; Study programme type: university; Study level: graduate; Academic / professional title: magistar/magistrica teorije glazbe (magistar/magistrica teorije glazbe)
• Type of resource: Text
• File origin: Born digital
• Access conditions: Access restricted to students and staff of home institution
• Created on: 2015-11-13 13:46:11